Measuring Student Growth in the Instrumental Music Classroom

Transcription

1 Measuring Student Growth in the Instrumental Music Classroom Michigan Music Conference Friday, January 17, :00-2:45pm Amway Grand - Governor's Room (2 nd floor) Phillip M. Hash Calvin College Grand Rapids, Michigan pmh3@calvin.edu (616)

2 Phillip M. Hash Phillip M. Hash is Associate Professor of Music Education at Calvin College in Grand Rapids, Michigan. He holds an Ed.D. in music education from the University of Illinois at Urbana- Champaign, a M.M in wind conducting from Northwestern University, and a B.M. in music education from Millikin University. Dr. Hash taught instrumental music in the Chicago area for 14 years and has received the Citation of Excellence from the National Band Association on two occasions as well as the Outstanding Chicagoland Music Educator Award. Bands under his direction have performed at the University of Illinois Superstate Concert Band Festival and the Illinois Music Educators Association All-State Conference. Dr. Hash is an active scholar and has published in a number of periodicals including the Journal of Research in Music Education, the Journal of Historical Research in Music Education, the Journal of Band Research, and Arts Education Policy Review. Conference presentations include research topics, as well as sessions on instrumental music education, mentoring student teachers, assessment, and music teacher evaluation. His arrangements for bands, string orchestras, and small ensembles through Grand Mesa Music, Daehn Publications, and BRS Music. Dr. Hash currently serves on the editorial committees of the Journal of Research in Music Education and the Journal of Music Therapy. He also serves as an adjudicator and clinician, sits on the board of the Michigan Music Education Association as the state research advisor, and works in various capacities with the Historical Special Research Interest Group of the National Association for Music Education. NOTES

3 Recorder Karate Rubric Pennsbury School District Fallsington, Pennsylvania Students earn a belt if they can perform the given song at a level 4 or above. 5 Student plays with good tone and very few mistakes in pitches and rhythm 4 Student plays with good tone and a few mistakes in pitches or rhythm 3 Student plays with acceptable tone and several mistakes in pitches or rhythm 2 Student plays with acceptable tone and many mistakes in pitches, rhythm or fingering a particular note 1 Student plays with poor tone, many mistakes in pitches and rhythm, many stops and starts, and/or seems very unsure of fingerings

4 Brass Methods (MUSC 196) Performance Rubric Name CATEGORY Comments Tone Quality Pitch (Note accuracy & intonation) Articulation Rhythm Tone is consistently focused, clear, and supported w/ air throughout the range of the instrument. 0-1 errors per exercise. Intonation is consistent and interval relationships are accurate. Secure attacks with correct use of tongue and air. Markings (staccato, legato, slur, accents, etc.) are executed accurately with 0-1 error(s) per exercise. The beat is secure and the rhythms are accurate with 0-1 error(s) per exercise. Tone is somewhat focused, clear, and supported w/ air. Outer limits of range are not yet consistent. 2-3 errors per exer. Intonation is usually consistent and interval relationships mostly accurate w/ occasional notes out of tune. Attacks are usually secure. Use of tongue and air are developing and/or 2-3 errors in markings per exercise. The beat is mostly secure and/or 2-3 incorrect rhythm(s) or duration errors per exercise. Tone is developing but often not focused, clear, and supported. Outer limits of range are usually not secure. 4-5 errors per exer. Intonation often inconsistent and interval relationships inaccurate w/ many notes out of tune. Attacks are not yet secure due to improper use or coordination of tongue and air and/or 4-5 errors in markings per exercise. The beat is somewhat erratic. 4-5 incorrect rhythms or duration errors per exercise. The tone is not focused, clear, or supported w/ air, regardless of the range. 6+ errors per exer. Intonation always inconsistent and interval relationships inaccurate w/ many or all notes out of tune. Few secure attacks due to improper use of tongue and air and/or 6+ errors in markings per exercise. The beat is usually erratic and rhythms are seldom accurate. 6+ incorr. rhythms or duration errors per exercise.

5 Musicianship Dynamic levels are obvious, consistent, and accurate. Phrasing, style, and tempo are appropriate for the style of music. Dynamic levels are evident but perhaps not consistent or obvious. Phrasing, style, and/or tempo are somewhat appropriate for the style of music. (2/3) Dynamic levels are barely discernable. Phrasing, style, and/or tempo are often not appropriate for the style of music. (1/3) No attention to dynamic levels is apparent. Phrasing, style, and/or tempo are not appropriate for the style of music. (0/3) Playing Position Posture is erect and hand position is correct at all times. Posture is erect but 1 aspect of hand position is incorrect. Posture is only somewhat erect and 2 aspects of hand position are not correct. Posture slouches and 3+ aspects of hand position are incorrect. Scales List: 0-2 errors per scale Errors are corrected in one attempt 3-4 errors. Most errors corrected in 1 attempt. 4-5 errors. A few errors corrected in one attempt. 6+ errors. Few is any errors are noticed or corrected. Exam Material Tested: Score / 28

6 PERFORMANCE EVALUATION Student Name Total Score Scorer s Name 1 st Test 2 nd Test NOTE READING & EXECUTION: Performs each note using correct fingering as indicated in the music 4- Outstanding: correct notes & fingerings played at all times 3- Good: one or two incorrect notes 2- Average: three or four incorrect notes 1- Weak: five or more incorrect notes 0- No attempt made or unrecognizable attempt made 1 st Test 2 nd Test RHYTHM: Performs the rhythms and holds steady tempo as indicated in the music 4- Outstanding: correct rhythms & steady tempo were played at all times 3- Good: one or two incorrect rhythms, tempo is steady the majority of the performance 2- Average: three or four incorrect rhythms, tempo is unsteady at least half of the time 1- Weak: five or more incorrect rhythms, tempo is unsteady the majority of the time 0- No attempt made or unrecognizable attempt made 1 st Test 2 nd Test ARTICULATION: Performs the proper articulations printed in the music 4- Outstanding: correct articulations played at all times 3- Good: one or two incorrect articulations 2- Average: three or four incorrect articulations 1- Weak: five or more incorrect articulations 0- Student does not understand how to perform proper articulations 1 st Test 2 nd Test TONE QUALITY: Plays with appropriate tone quality for the instrument 4- Outstanding: clear, focused and full tone at all times 3- Good: mostly clear, focused, and full tone; some weaknesses in extremes 2- Average: lacking fullness, clarity, or focus; inconsistent tone 1- Weak: poor quality with pinched, unsupported, or airy sound throughout 0- No attempt made or no consistent sound of any kind produced at all 1 st Test 2 nd Test POSTURE & HAND POSITION: Sits with appropriate posture and holds instrument with proper hand position 4- Outstanding: student demonstrates proper posture and hand position at all times 3- Good: student either has minor hand or posture problem while playing 2- Average: student has both minor hand and posture problems while playing 1- Weak: student has obvious hand and posture problems that negatively affect the proper performance of the piece 0- Student does not demonstrate an understanding of proper hand position or posture TOTAL SCORE

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10 ASSESSMENT RESOURCES Wendy Barden Maximizing Student Performance Series (Kjos) This series contains excellent, practical assessment strategies and materials. Many could be incorporated into measures of student growth. Customizable forms are available online - Scale Your Way to Music Assessment by Paul Kimpton is a hands-on, step-bystep action plan for using assessment to improve your teaching and your students' performances. Published by GIA. Grading for Musical Excellence by Paul Kimpton / Ann Kimpton Grading for Musical Excellence, complete with workbook exercises and reflective questions, encourages music educators to "forget the baggage" and work as a team to assess the current grading system and move to the next level, incorporating the latest research about grading. Published by GIA.

11 NAME. FUNDAMENTAL MUSICIANSHIP BATTERY Level One Perform Warm-Ups and Beyond: Concert Bb Major Major Fives [Memorized] (Quarter Note = 96) Notate Notate the Concert Bb Major Fives for your instrument below. Be certain to use the proper clef, key signature, and 4/4 time signature. Objectives Evaluate Good posture and playing position Full, rich, deep tone Correct rhythms and steady tempo Accurate fingering/positions/sticking Notation complete and correct 1) Why are scales important for musical development?. 2) Print the order of whole steps and half steps in a major scale:. Complete a Self-Assessment and insert it in your FMB folder after this page. Teacher Signature:.

12 NAME. FUNDAMENTAL MUSICIANSHIP BATTERY Level Twenty-Four Perform 14 Weeks to a Better Band: Exercise 14 - Major Scales (Quarter Note = 96) 14 Weeks to a Better Band: Exercise 14 - Chromatic Scale [Memorized] (Quarter Note = 96) Notate On the staves below, notate the Chromatic Scale exercise you performed on your instrument below. Be certain to use the proper clef, key signature, and 4/4 time signature. Objectives Evaluate Good posture and playing position Full, rich, deep tone Correct rhythms and steady tempo Accurate fingering/positions/sticking Composition complete: correct staff set-up, notation, and adherence to directions Complete MSBOA Music Theory Test Four and insert it in your FMB folder after this page. Complete a Self-Assessment and insert it in your FMB folder after this page. Teacher Signature:.

13 NAME COMPREHENSIVE MUSICIANSHIP BATTERY Level One Perform Concert Bb Major Scale One Octave [Memorized] (Quarter Note = 96) Concert G minor Scale Melodic One Octave [Memorized] (Quarter Note = 96) Concert Bb Chromatic Scale One Octave [Memorized] (Quarter Note = 96) Self-Assessment Notate Notate the Concert Bb Major Scale and Concert G minor (Melodic) scale for your instrument below, ascending and descending. Use one quarter note per pitch in 4/4 time signature. Identify tonic, dominant, and subdominant tones. Objectives Good posture and playing position Full, rich, deep tone Correct rhythms Correct and steady tempo Notation complete and correct Evaluate 1) Why are scales important for musical development?. 2) What is the primary objective of a chromatic scale?. Teacher Signature:

14 NAME COMPREHENSIVE MUSICIANSHIP BATTERY Level Seven Perform Chromatic Scale Full Range of Instrument [Memorized] (Quarter Note = 96) Improvisation Improvise Using the notes from one of the previously studied scales, improvise a short melody. You should practice by improvising at home. You will be asked to set a tempo and improvise for a minimum of 8 measures. Objectives Evaluate Good posture and playing position Full, rich, deep tone Correct rhythms Correct and steady tempo Correct notes Improvisation length On a separate sheet, answer the following questions in complete sentences in separate paragraphs. 1) What can be learned from improvisation? 2) Why is improvisation considered a pure form of creativity? Teacher Signature:

15 NAME COMPREHENSIVE MUSICIANSHIP BATTERY Level Fourteen Perform Concert D Major Scale One Octave [Memorized] (Quarter Note = 96) Concert b minor Scale Melodic One Octave [Memorized] (Quarter Note = 96) Concert D Chromatic Scale One Octave [Memorized] (Quarter Note = 96) Notate Notate the Concert D Major Scale and Concert b minor (Melodic) scale for your instrument below, ascending and descending. Use one quarter note per pitch in 4/4 time signature. Identify and notate tonic, dominant, and subdominant chords. Objectives Good posture and playing position Full, rich, deep tone Correct rhythms Correct and steady tempo Notation complete and correct Evaluate What are three things that you can do to further enhance your own musicianship? 1) 2) 3) Teacher Signature:

16 NAME COMPREHENSIVE MUSICIANSHIP BATTERY Level Twenty-One Perform All scale requirements from memory for your instrument on the MSBOA Solo & Ensemble Proficiency Level II Sight-Reading Notate Notate two major and two minor scales of the MSBOA Solo & Ensemble Proficiency Level II not previously exhibited on Level 18. Objectives Evaluate Good posture and playing position Full, rich, deep tone Correct notes & rhythms Correct and steady tempo Notation complete and correct Write a one-page essay about your instrument, its history, notable advances in technology and well-known performers. Teacher Signature:

17 NAME COMPREHENSIVE MUSICIANSHIP BATTERY Level Twenty-Eight Perform Composition Compose Write an abbreviated march for at least four different instruments. It should exhibit: knowledge of melody, harmony, and notation skills must contain an introduction (4 meas), first & second strains (8 meas each) & trio (16 meas) use 2/4 or cut time time signatures and any key signature include dynamics, articulations, phrasing, etc. Challenge yourself to produce something you are proud of. You may use material from previous composition assignments as basis for your new work. Please use the confines tonally of march form (i.e. first 20 measures should be in one key, last 16 in another closely related key) Your final copy must be notated in pen or via computer notation software; either way, it should be clean and neat. Find friends to perform this composition with you for class. Objectives Evaluate Good posture and playing position Full, rich, deep tone Correct notes & rhythms Appropriate tempo Correct notation Composition On a separate sheet, answer the following questions in complete sentences in separate paragraphs. 1) Describe your composition. (e.g. your mindset writing, or a story you made up or based this off) 2) What was the method you used to compose this piece? 3) What was most difficult about the compositional process throughout the CMB experience? Teacher Signature:

18 Level 3 Students in Level 3 should be able to use a variety of bow strokes appropriately, including staccato, martelé, and detaché. Secure intonation in 1st, 2nd, and 3rd positions is required, including the ability to shift between positions with accuracy and fluency. The development of vibrato is encouraged at this level. Level 3 Requirements Repertoire one selection from List A one selection from List B one selection from List C Memory (2 marks per repertoire selection) Technical Requirements Etudes: two etudes from the Syllabus list Technical Tests scales arpeggios double stops Aural skills Clapback Intervals Playback Reading skills Playing Clapping Marks Total possible marks (pass = 60) 100 Academic Co-requisite None Repertoire Please see Assessment Repertoire on p. 9 for important information regarding this section of the assessment. Students must prepare three contrasting selections by three different composers, one from List A, one from List B, and one from List C. Bullets used to denote selections for assessment purposes: one selection selection is found in Violin Series, 2013 Edition: Violin Repertoire 3 FHM List A Repertoire in Baroque and Classical Styles Albrechtsberger, Johann Georg Minuetto and Trio in D Major, from Symphony No. 3 in D Major (arr. Paul Jenkins FHM) Arne, Thomas A. Melodie in G Major (arr. Alfred Moffat in Old Masters for Young Players, 1 OTT) Bach, Johann Sebastian, attr. Minuet, from Notenbuch der Anna Magdalena Bach, BWV Anh. 114 (Christian Petzold: attr. J.S. Bach and arr. in Suzuki Violin School, Revised Edition, 3 ALF) Musette, from Notenbuch der Anna Magdalena Bach, BWV Anh. 126 (arr. Kathleen Wood FHM) Becker, Jean Gavotte (in Suzuki Violin School, Revised Edition, 3 ALF) Beethoven, Ludwig van Minuet in G Major, from Sechs Menuette, WoO 10, no. 2 (arr. in Suzuki Violin School, Revised Edition, 2 ALF) Diabelli, Anton Sonatina, op. 163, no. 4 2nd movement: Andante cantabile (arr. Kathleen Wood FHM) Gossec, François-Joseph Gavotte (in Suzuki Violin School, Revised Edition, 1 ALF) Hasse, Johann Adolph Two Dances (arr. Alfred Moffat, in Old Masters for Young Players, 1 OTT) Bourrée and Menuett Küchler, Ferdinand Concertino in G Major, op. 11 BOS 1st movement Lully, Jean-Baptiste Gavotte (in Suzuki Violin School, Revised Edition, 2 ALF) Martini, Giovanni Battista Gavotte (in Suzuki Violin School, Revised Edition, 3 ALF) Montéclair, Michel Pignolet de Two Minuets (in Position Pieces for Violin and Piano, 2 FAB) Pepusch, Johann Christoph Theatermusik (arr. Alfred Moffat in Old Fiddle Pieces OTT) 25 Level 3

19 Sammartini, Giuseppe Mouvement d une Sérénade (arr. Alfred Moffat in Old Fiddle Pieces OTT) Steibelt, Daniel Divertimento (arr. Alfred Moffat, in Old Fiddle Pieces OTT; The Young Violinist s Repertoire, 2 FAB) Telemann, Georg Philipp Sonatina in F Major, TWV 41:F1 3rd movement: Presto (arr. Kathleen Wood FHM) List B Traditional and Romantic Repertoire Anonymous Untitled Reel 2 (arr. John Beckwith, in Eight Miniatures from the Allen Ash Manuscript FHM) Traditional Nouvelle agréable (arr. Christine Donkin FHM) play with fingering indicated Skye Boat Song (arr. Hugh J. McLean FHM) play in 3rd position Alard, Jean-Delphin Nocturne (In the Second Position) FHM play in 2nd position Baklanova, Nathalia Acht leichte Stücke für Violine und Klavier PET Mazurka (no. 4) (in The Young Violinist s Repertoire, 3 FAB) observe repeat mm. 33 to 40 Romance (no. 3) Blachford, Frank Minor Mode FHM Brahms, Johannes Waltz, from Walzer, op. 39, no. 15 (arr. in Suzuki Violin School, Revised Edition, 2 ALF) Carse, Adam Fiddle Fancies S&B Waltz Steps Dvořák, Antonín From Songs my Mother Taught Me, op. 55, no. 4 (in The Young Violinist s Repertoire, 2 FAB) Grieg, Edvard Wedding Tune, op. 17, no. 24 (arr. Kathleen Wood FHM) play in 2nd position Méhul, Etienne Romance (arr. Alfred Moffat in Old Fiddle Pieces OTT) Mendelssohn, Ludwig Miniatures: Fifteen Pieces for Violin, op. 62 BOS Cavatina (no. 4) Little Waltz (no. 2) Paganini, Niccolò Theme, from Witches Dance (arr. in Suzuki Violin School, Revised Edition, 2 ALF) Schumann, Robert The Two Grenadiers, op. 49, no. 1 (arr. in Suzuki Violin School, Revised Edition, 2 ALF) Tchaikovsky, Pyotr Il yich Sharmanka (in The Young Violinist s Repertoire, 2 FAB) List C Repertoire Composed After 1930 Archer, Violet Twelve Miniatures WAT Joyous Chase, Bruce Fiddle & Fun in First Position HAL Gabby Ghost Colledge, Katherine, and Hugh Colledge Shooting Stars B&H Cossacks Moto perpetuo Coulthard, Jean A Sad Waltz (in The Encore Series for Violin & Piano, 3 FHM) Under the Sea (in The Encore Series for Violin & Piano, 4 FHM) Donkin, Christine Fall Fair FHM The Farmers Market Midway Ride Duke, David Pibroch (in The Encore Series for Violin & Piano, 2 FHM) Fiala, George Wallaby s Lullaby, op. 5 BER Kabalevsky, Dmitri Twenty Pieces for Violin and Piano, op. 80 SCH; SIK On Holiday (no. 15) Khachaturian, Aram The Little Horse (in Position Pieces for Violin and Piano, 3 FAB) Kroll, William Three Violin Pieces in the First Position SCH Donkey Doodle (in Solos for Young Violinists, 1 ALF) Lumsden, Caroline, and Ben Atwood Wizard s Potion PET Grab the Slippery Toad! Level 3 26

20 Norton, Christopher Microjazz Violin Collection, 2 B&H A Dramatic Episode Fly Away Persichetti, Vincent Masques, op. 99 EVO Masque No. 1 Pracht, Robert Twelve Easy Pieces, op. 12 BMC Perpetuum Mobile Tarantella Shostakovich, Dmitri The Clockwork Doll, from Children s Notebook, op. 69 (arr. Konstantin Fortunatov, in Shostakovich: Albumstücke PET) Wilson, Peter Space Stringpops FAB Space Walk Technical Requirements Please see Technical Requirements on p. 11 for important information regarding this section of the assessment. Etudes Students must prepare two technically contrasting etudes from the following list. Bullets used to denote selections for assessment purposes: one selection selection is found in Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory 4 FHM Cohen, Mary Superstudies for Violin, 2 FAB Fivepenny Waltz (no. 8) Hot Chocolate Treat (no. 3) The Snake-Charmer s Lament (no. 7) The Whirly Bird and the Hen (no. 9) de Keyser, Paul Violin Playtime Studies FAB Allegro Brillante (no. 30) Donkin, Christine Get Fiddlin! FHM Kananaskis (no. 22) Mosquito Creek (no. 20) Simonette River (no. 16) Wild Horse (no. 10) Entezami, Ramin Melodious Etudes in First Position FIS The Fellow (no. 31) Geringas, Yaakov Shifting: Thirty Progressive Studies for Violinists FHM Aim and Shoot (no. 8) Cradle Song (no. 6) The First Skating Lesson (no. 5) King Counter (no. 7) Round Dance (no. 3) Sadness (no. 18) Tag (no. 11) Up and Down the Ladder (no. 1) Givens, Shirley Adventures in Violinland, 3D GIV Who Has Seen the Wind? play in 3rd position Kayser, Heinrich Ernst Elementary and Progressive Studies for the Violin, op. 20 SCH; FIS one of nos. 1, 2, 3 Kinsey, Herbert Elementary Progressive Studies, set 1 ABR no. 11 or no. 18 Mackay, Neil Position Changing for the Violin OUP The Fair Isle (no. 2) Tyrolean Air (no. 18) Metz, Louis Vioolmethode, 3 B&V no. 8 Rapoport, Katharine Kites FHM play in 2nd position Sitt, Hans Studies for the Violin, op. 32, 1 FIS no. 3 or no. 4 Trott, Josephine Melodious Double Stops, 1 SCH one of nos. 1, 2, 4, 6, 7, 8 Wohlfahrt, Franz Forty Elementary Studies, op. 54 FIS; SCH; PET no. 9 or no. 35 Sixty Studies for Violin, op. 45, 1 SCH Study in G Major (no. 4) one of nos. 6, 14, 16, 20 Sixty Studies for Violin, op. 45, 2 SCH Study in B flat Major (no. 37) 27 Level 3

21 Technical Tests Please see Technical Tests on p. 11 for important information regarding this section of the assessment. Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory 4 FHM for required patterns. Scales Keys Range Tempo Bowing Major Harmonic and Melodic Minor Major Harmonic and Melodic Minor Chromatic Arpeggios Major Minor Major Minor Double Stops* B, C, D C, D F F on D B, C, D C, D F F 2 octaves = octave in 2nd position = 60 1 octave start on open string = 66 2 octaves = 88 1 octave in 2nd position = 60 Exercise on D and A Strings = 60 *See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory 4 FHM. Aural skills Clapback Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the piano. Time Signatures Approximate Length four measures Example only 1 2 Level 3 28

22 Intervals Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on the piano. or Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano. Above a Given Note major 3rd perfect 5th perfect octave Below a Given Note minor 3rd perfect 5th Playback Students will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody may contain leaps of a 3rd and/or a 5th. The adjudicator will name the key, play the tonic triad once, and play the melody twice on the piano. Beginning Note Keys Approximate Length tonic, mediant, or dominant G, D, A major five to eight notes Example only 1 2 Reading skills Playing Students will be asked to play a short melody at sight. This may contain dynamics (,,,, dim., cresc.), symbols ( ), articulation, and bowing indications (two-note legato or staccato slurs). Difficulty Time Signatures Keys Positions Approximate Length Level 1 repertoire G, D, A major 1st eight to twelve measures Clapping Students will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected. Time Signatures Approximate Length four measures Example only 29 Level 3

23 Sample Annual High School Orchestra Assessment Part I Written (score/119 pts. = %/100. Then divided by % by 2 = score/50) I. Music Terminology Matching (1 pt. each = 20 pts.) [ART.M.III.HS.1] 1. allegro a. sweetly 2. trio b. slower & broader 3. poco c. moderately fast 4. stringendo d. fast 5. allegretto e. little 6. dolce f. hastening 7. feierlich g. expressively 8. ausdrucksvoll h. soft, tender 9. weich i. contrasting minuet 10. allargando j. solemn, grave II. Music History & Culture - Multiple Choice (1 each = 15 pts.) [ART.M.V.HS.1] 11. Spring from Vivaldi s Four Seasons is a. an early example of program music. b. based on sonnets by a famous poet. c. includes strings, winds, and percussion. 12. A classical symphony generally has movements arranged a. fast-minuet-slow-fast. b. fast-slow-minuet-fast. c. fast-slow-slow-fast. 13. Orchestral music of the classical era typically features a. clear, symmetrical phrases. b. polyphonic texture. c. the brass section.

24 III. Music Theory (12 pts.) [ART.M.III.HS.1] Write the following key signatures and scales, ascending and descending. (2 pts. each): Freshmen: A, C, Bb, G, F, & D major Sophomores: E, Bb, Ab, D, Eb, & A major Juniors: A, Eb, & Ab major; d, e, & b natural minor Seniors: B & C# major; c#, f#, b, & g melodic minor 20. Write the counting below the notes/rests for the excerpt below. (2 pt. per mes.= 24 pts.) Identify the following excerpts as baroque or classical by circling the appropriate word. Briefly explain your answer. (2 pts. each = 8 pts.) [ART.IV.HS.1] 21. BAROQUE / CLASSICAL Why?: 22. BAROQUE / CLASSICAL Why?: 23. BAROQUE / CLASSICAL Why?: 24. BAROQUE / CLASSICAL Why?:

25 25. You will see a video of a high school orchestra (not our own) playing the first movement of Mozart s Eine Kleine Nachtmusik in concert. The video will be played three times. You will have time to write between each listening. Complete the evaluation form below indicating positive aspects, areas for improvement, and strategies this group could use in rehearsal and individual practice to make their performance better. (30 pts.) [ART.M.III.HS.5; ART.M.III.HS.6] Tone Comments characteristic sound, warmth, control, support, percussion instrument adjustment and sound Intonation correct pitches, matching within ensemble Balance Parts covered as well as possible, blend, proportion of melody, bass, harmony, etc. Percussion balanced to ensemble, overall ensemble sound Musicianship Dynamics, phrasing, appropriate style & articulation, improvisation (jazz ensembles only) Rhythm Correct rhythms, consistent tempo, phasing, precision, appropriate tempo changes executed together Technique Hand/bow position, tonguing/slurring, fingering ability, ability to play individual parts Stage Presence Posture, self discipline, neat appearance, attention to conductor, deportment on and off stage Grading Rubric Evaluation identifies numerous positive aspects and areas for improvement with specific strategies for rehearsal and practice. Comments are specific, accurate, and clear. Evaluation identifies several positive aspects and areas for improvement with general strategies for rehearsal and practice. A few comments are specific. Most comments are general, but mostly accurate, and clear. Evaluation includes some positive comments and areas for improvement. Several comments are accurate w/ some general strategies for rehearsal and practice. More detail and clarity needed. Evaluation includes a few positive comments and areas for improvement. Some comments are accurate w/ some general strategies for rehearsal and practice. Some comments may be inaccurate or incorrectly stated. More detail and clarity needed. Evaluation is incomplete with only a few helpful comments.

26 26. Form You will hear the first movement to Spring from Vivaldi s Four Seasons two times. Write the number called in the appropriate place in the listening map. (10 pts.) [ART.M.III.HS.2] Spring from the Four Seasons By Antonio Vivaldi ( ) R = Ritornello E = Episode R1 Spring w/ all it s happiness is here. R1 R2 R2 E1 And the birds welcome it w/ happy songs R2 E2 And the brooks, touched by the breezes, flow w/ sweet murmurings (quiet) R2 (Dominant) E3 Dark clouds fill the sky announced by lightning and thunder. (Fast lightening like notes) R2 (C# Minor) E4 But when everything is quiet, the birds begin to sing again their enchanting song. R2 R2 Part II Individual Performance (50 pts. graded w/ separate rubric) [ART.M.I.HS.4] Grade 9 Grade 10 Grade 11 Grade 12 Scales (10) Etude (15) Orchestra Rep. (15) [ART.M.I.HS.1; ART.M.I.HS.3] Sight Reading (10) [ART.M.I.HS.6]

27 Michigan Standards, Benchmarks, and Grade Level Content Expectations for Visual Arts, Music, Dance, and Theater GRADE 7 PERFORM Standard 1: ART.M.I.7.1 ART.M.I.1.2 ART.M.I.7.3 ART.M.I.7.4 ART.M.I.7.5 Apply skills and knowledge to perform in the arts. (VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4) Sing and play with expression and technical accuracy, an increasingly diverse repertoire of literature at developmentally-appropriate levels. Perform at least one selection from memory. Sing a melody in a small group. Sing and play accurately as a soloist, and in both small and large ensembles with appropriate technique and breath control. Use technology in a variety of ways in musical performance. Sight read basic melodies in treble and bass clefs, using combinations of whole, half, quarter, eighth, sixteenth, and dotted notes and rests; in simple meter. CREATE Standard 2: ART.M.II.7.1 ART.M.II.7.2 ART.M.II.7.3 ART.M.II.7.4 ART.M.II.7.5 ART.M.II.7.6 Apply skills and knowledge to create in the arts. (VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4) Improvise tonic and dominant accompaniments. Improvise basic rhythmic and melodic variations. Improvise short melodies over given rhythmic accompaniments, each in a consistent style, meter, and tonality. Compose short pieces to communicate ideas and/or stories, within defined parameters. Arrange simple pieces for student s classroom instrument or voice. Use a variety of traditional and nontraditional sound sources when composing, arranging, and improvising. v

28 Michigan Standards, Benchmarks, and Grade Level Content Expectations for Visual Arts, Music, Dance, and Theater ANALYZE Standard 3: ART.M.III.7.1 ART.M.III.7.2 ART.M.III.7.3 ART.M.III.7.4 ART.M.III.7.5 Analyze, describe, and evaluate works of art. (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4) Identify and describe specific musical elements and events in a given aural example, using appropriate terminology. Analyze elements of music used in music of increasingly diverse genres and styles. Demonstrate knowledge of the basic principles of tonality, major chords, and I-IV-V harmonic progressions in major keys. Develop criteria based on musical knowledge and personal reflections to evaluate the quality and effectiveness of music performances. Apply these criteria as selfevaluation when performing and creating. Evaluate the quality and effectiveness of one s own and others musical performances and creations by applying specific and appropriate criteria, and offering constructive suggestions for improvement. ANALYZE IN CONTEXT Standard 4: ART.M.IV.7.1 ART.M.IV.7.2 ART.M.IV.7.3 ART.M.IV.7.4 Understand, analyze, and describe the arts in their historical, social, and cultural contexts. (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4) Describe distinguishing characteristics of a repertoire of music from diverse cultures. Classify by genre and style (and, if applicable, by historical period, composer, and title) a varied body of exemplary musical works. Compare, in several cultures of the world, functions music serves and the roles of musicians. Describe the relationship between technology and music. ANALYZE AND MAKE CONNECTIONS Standard 5: Recognize, analyze, and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life. v

29 Michigan Standards, Benchmarks, and Grade Level Content Expectations for Visual Arts, Music, Dance, and Theater (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4) ART.M.V.7.1 ART.M.V.7.2 ART.M.V.7.3 Describe and compare the relationships between the art forms and their characteristic materials. Describe ways in which music is related to the subject matter of at least two other disciplines. Identify multiple artistic applications of current technology in music. v

30 Michigan Standards, Benchmarks, and Grade Level Content Expectations for Visual Arts, Music, Dance, and Theater HIGH SCHOOL PERFORM Standard 1: ART.M.I.HS.1 ART.M.1.HS.2 ART.M.1.HS.3 ART.M.1.HS.4 ART.M.1.HS.5 ART.M.1.HS.6 Apply skills and knowledge to perform in the arts. (VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4) Sing and play with expression and technical accuracy a large and varied repertoire of vocal and instrumental literature with a moderate level of difficulty, including some selections performed from memory. (21 st Century Skills: I.3, I.4, I.5, I.6, II.1, II.7, III.3, III.4, III.10) Sing music written in four parts, with and without accompaniment. (21 st Century Skills: I.3, I.4, I.5, II.1, III.4, III.6) Perform an appropriate part in large and small ensembles, demonstrating well-developed ensemble skills. (21 st Century Skills: I.4, II.5, III.3) Perform music using instruments (traditional and nontraditional) and electronic media. (21 st Century Skills: I.1, I.2, II.2, II.3, II.5, III.2) Perform from an instrumental or vocal score of at least four staves. (21 st Century Skills: I.3, I.4, II.1, II.7) Sight read accurately and expressively, music with a moderate level of difficulty. (21 st Century Skills: I.3, I.4, II.1, II.7) CREATE Standard 2: ART.M.II.HS.1 ART.M.II.HS.2 Apply skills and knowledge to create in the arts. (VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4) Improvise stylistically appropriate harmonizing parts. (21 st Century Skills: I.1, I.3, I.4, 1.5, 1.6, II.1, II.4, II.5) Improvise rhythmic and melodic variations given pentatonic melodies, and melodies in major and minor keys. (21 st Century Skills: I.1, I.3, I.4, II.1, II.4, II.5) v

31 Michigan Standards, Benchmarks, and Grade Level Content Expectations for Visual Arts, Music, Dance, and Theater ART.M.II.HS.3 ART.M.II.HS.4 ART.M.II.HS.5 ART.M.II.HS.6 ART.M.II.HS.7 Improvise original melodies over given chord progressions, each in a consistent style, meter, and tonality. (21 st Century Skills: I.1, I.2, I.3, I.4, II.1, II.4, II.5) Compose music in several different styles, demonstrate creativity in using the elements of music for expressive effect. (21 st Century Skills: I.1, I.2, I.3, I.4, II.1, II.7, III.3, III. 4) Arrange pieces for voices or instruments, other than those for which the pieces were written, in ways that preserve or enhance the expressive effect of the music. (21 st Century Skills: I.1, I.2, I.3, I.4, I.5, II.1, II.4, II.7, III.3, III. 4) Compose and arrange music for voices and various acoustic and electronic instruments, demonstrating knowledge of the ranges and traditional usage of the sound sources. (21 st Century Skills: I.1, I.2, I. 3, I.4, II.1, II.3, II.7, III.3) Create or adapt music to integrate with other media. (21 st Century Skills: I.1, I.2, I.3, I.4, II.1, II.2, II.3, II.5, II.7, III.3) ANALYZE Standard 3: ART.M.III.HS.1 ART.M.III.HS.2 ART.M.III.HS.3 ART.M.III.HS.4 Analyze, describe, and evaluate works of art. (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4) Demonstrate extensive knowledge and use of the technical vocabulary of music. (21 st Century Skills: I.6, II.1) Analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices. (21 st Century Skills: I.3, II.1, II.7, III.2, III.7) Identify and explain compositional devices and techniques and their purposes, giving examples of other works that make similar uses of these devices and techniques. (21 st Century Skills: I.3, I.4, I.6, II.1) Evaluate the use of music in mixed media environments. (21 st Century Skills: I.3, I.6, II.1, II.2) v

32 Michigan Standards, Benchmarks, and Grade Level Content Expectations for Visual Arts, Music, Dance, and Theater ART.M.III.HS.5 ART.M.III.HS.6 Make informed, critical evaluations of the quality and effectiveness of performances, compositions, arrangements, and improvisations applying specific criteria. (21 st Century Skills: I.3, I.6, II.1) Evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models. (21 st Century Skills: I.3, I.4, I.6, II.1) ANALYZE IN CONTEXT Standard 4: ART.M.IV.HS.1 ART.M.IV.HS.2 ART.M.IV.HS.3 ART.M.IV.HS.4 Understand, analyze, and describe the arts in their historical, social, and cultural contexts. (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4) Classify by genre or style and by historical periods or culture, unfamiliar but representative aural examples of music and explain the reasoning behind their classifications. (21 st Century Skills: I.3, I.4, I.6, II.1, III.1, III.2, III.7) Identify sources of American music genres, trace the evolution of those genres, and cite well-known musicians associated with them. (21 st Century Skills: I.3, II.1, III.2, III.7) Identify various roles that musicians perform, cite representative individuals who have functioned in each role, and describe their activities and achievements. (21 st Century Skills: I.3, I.6, II.1, III.2, III.7, III.9) Analyze the impact of electronic music media in society and culture. (21 st Century Skills: I.3, II.1, II.2, II.3, III.2, III.7, III.9) ANALYZE AND MAKE CONNECTIONS Standard 5: ART.M.V.HS.1 Recognize, analyze, and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4) Explain how elements, artistic processes, and organizational principles are used in similar and distinctive ways in the various arts and cite examples. (21 st Century Skills: I.3, I.6, II.1) v

33 Michigan Standards, Benchmarks, and Grade Level Content Expectations for Visual Arts, Music, Dance, and Theater ART.M.V.HS.2 Compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures. (21 st Century Skills: I.3, I.4, I.6, II.1, III.2, III.7, III.9) ART.M.V.HS.3 ART.M.V.HS.4 ART.M.V.HS.5 Explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music. (21 st Century Skills: I.3, I.6, II.1) Explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts and disciplines outside of the arts. (21 st Century Skills: I.3, I.6, II.1, III.2, III.7, III.9) Analyze and consider the use of music and media for the future. (21 st Century Skills: I.2, I.3, II.1, II.2, II.3, III.2, III.7, III.9) v

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